Tag Archives: Serial Fiction

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Heroic Journeys are pretty much the gold standard for modern fiction writing. The vast majority of stories written in any genre are heroic journeys wherein a weak/flawed character grows, develops, and eventually becomes a hero. The standard hero’s journey formula runs like this:

Introduction of the flawed character and their world as it is.

Character is forced out of that world by some event.

Character embraces new situation and tries to overcome it.

Character faces first big challenge and overcomes it.

Character faces first major setback.

Character recovers from major setback.

Character faces antagonist/final challenge.

Character wins and enters new world with their flaw overcome.

For those keeping track, the above would be the generic Heroic Journey plot of a 4-act story (each two parts being 1 “act”) and while there’s some variation, most stories run like this. An introduction, the character entering the new situation, the character learning on a “try/fail” cycle until they get strong enough to face their true enemy and walking out a newly minted hero at the other end.

That’s great for a standard heroic journey story, but does it work for a story where the main character is trying to build/create something? I refer to that kind of story as a type of “Procedural Fiction” because we’re watching the main character follow a procedure- a set of steps that need to followed in order to accomplish a goal.

I would say there are three kinds of procedural fiction:

Standard Procedurals

Creative Procedurals

Exploratory Procedurals.

In a Standard Procedural, the character is following a set of steps which are already proscribed by someone else to accomplish a goal. The most common example of this is Police Procedurals (think CIS or NCIS, or The Mentalist, or whatever is popular this season) where the story is the characters following standard police procedure (or their variant thereof) as they try to investigate the murder of the week. The procedural structure of the steps they must follow give the story its form, and there really isn’t any heroic journey happening here, just witty main characters interviewing people and trying to sort through clues to reach a conclusion.

The key to a Standard Procedural is that they’re following a set of steps already created by someone else, whereas in a Creative Procedural this isn’t entirely true. In a Creative Procedural, a character is trying to build something or accomplish a goal which has a set of steps to complete it, but those steps may be somewhat general or vague. Unlike a Standard Procedural (first examine the body, then interview the witnesses, then look for motive, etc) a Creative Procedural is about a person trying to do a task which is as much an art as it is a science.

For example, let’s say a main character is trying to open a business, which is a common enough Creative Procedural in Japanese Dramas. (The Japanese adore Creative Procedurals with a passion, and produce a lot of them.) While there are known steps to starting a business like “write up a business plan”, “find a location”, “create a sign”, and others, there are also a lot of really vague elements like “find something you’re passionate about” or “master the skill that you’ll be selling to your clients” or “find a mentor” that there’s a lot of different directions and ways to go about it. Whether they’re trying to learn to play the piano at a master level, become a golf pro, become a manga writer/artist, master Poker, or whatever the main character’s goal is, a Creative Procedural is about them navigating the world of possibilities involved with following their chosen pursuit.

Finally, there are Exploratory Procedurals. Simply put, an Exploratory Procedural is one where the main character is making up the procedure as they’re going along. They’re following vague logical steps to do what they’re doing, but they’re also breaking new ground or trying to do something that has never been done before in quite this way. A great example of an Exploratory Procedural is The Martian (movie, book, doesn’t matter) where we have a guy left behind on Mars after a failed attempt to set up a base who must figure out how to survive until someone can come help him. He has lots of knowledge, knows the scientific method, and has some clear goals he wants to reach, but there isn’t a set procedure he can follow to reach those goals- so he makes them up as he goes along in a series of trial and error attempts.

A Standard Procedural is about following a well paved road between cities.

A Creative Procedural is about following a series of paths and side trails through the forest to reach a destination.

An Exploratory Procedural is about making a path through the forest using a compass and a machete.

However, it’s about the try/fail cycle and how it’s implemented where the heroic journey and the procedural have a parting of the ways.

A Heroic Journey is built on setbacks (the try/fail cycle mentioned above) where the main character fails most of the time but succeeds just enough to keep them going until they reach their goal- each “failure” making them stronger through adversity. The drama in a heroic journey is about the character constantly struggling uphill, and even when they win they often lose in some way, unless it’s the big win at the end that makes the audience feel satisfied.

Procedurals, at least Creative Procedurals and Exploratory Procedurals, don’t work on a try/fail cycle. In fact, if anything, they work on a try/fail/succeed cycle, with the “succeed” part being a key difference between them and the Heroic Journey. In The Martian, for example, if the main character had failed at the end of each of his attempts to grow potatoes or jury rig the heating system, he would have died. Each of those were challenges he had to meet and succeed at to keep the story going. Just the same as a young Manga Artist needs to get a few hits under his belt or else he can’t get anyone to publish his work because he’s in an industry where you can only build on your successes.

So, if that’s the case, what would a structure for an Exploratory or Creative Procedural story look like?

A character has a goal. (Usually created by some inner Need, but not always.)

The character begins working toward achieving that goal and tries to solve the first roadblock they encounter, succeeds.

The character is faced with a new more difficult problem, works to solve it (often building on what they learned the last time and acquiring new skills/knowledge/resources) and succeeds.

The character is faced with a new even more difficult problem, works to solve it (often building on what they learned the last time and acquiring new skills/knowledge/resources) and succeeds.

Repeat as needed.

The character faces the penultimate problem that requires they use the knowledge, resources and skill they gained from solving all the previous problems to overcome. They do it, and succeed.

The character has now gone from victim of the situation to master of the situation.

And each of the “try/fail/succeed” cycles above (2-5) would usually involve the following steps:

Figure out what the problem is.

Try to solve it using current skill/knowledge/resources.

Fail to solve it.

Figure out what changes will be needed to solve it. (Skill/Knowledge/Resources)

Acquire what’s needed to solve it.

Solve it.

Of course, this would get dull if it’s the same thing over and over, so a writer will need to vary this up a little by skipping steps, rearranging steps, adding steps. A common trick is to vary the thing which the character needs to solve the problem (skills/knowledge/resource) so that it keeps the pattern fresh and has the character going in different directions and experiencing new things. This is also why the Japanese tend to love this type of story so much, because they use it to work in actual skills and knowledge the writer has and is teaching the audience through the story.

Also, the writer must always be planting the seeds of the next level of the challenge in the audience’s minds. Sometimes this is self-evident (“I have to become a Sushi Chef, so first I must master making rice, and then cutting fish, and then…”) and sometimes this needs to be set up at the start (“If we don’t succeed in just one year, Mother Earth will disappear!”) and sometimes it’s all about throwing new challenges at the heroes every time they think they’ve won.

And this is one of the Creative/Exploratory Procedural’s other great strengths. It can be as long or short as the writer wishes it to be, and can fit nicely into segmented boxes, which makes it great for serial forms of storytelling. Each Episode/Chapter/Arc is a try/fail/succeed cycle covering a different aspect of the character’s progression, and there can be as many of them as the writer needs to fill up whatever space needs to be filled. (If a task normally has 5 steps to mastering it, then there are 5 story arcs about the character mastering that task. If there are 150 Pokemon to catch, then you can have 150 episodes of catching Pokemon…. Unless you keep adding more… and more… and more…)

Which leads me to a word of caution- Procedurals live or die on novelty and creativity. As soon as they become old-hat and the audience knows all the variations of the formula, the audience will get bored really quickly and stop caring. So while the strength of a procedural is that it can be as long or short as the writer wishes, a good procedural writer knows when the say enough is enough and end it. Sometimes this too is self-evident (the character has reached a level where they can’t go any higher or expand any further) and sometimes the writer just needs to follow their guts and quit while they’re ahead. (Leave while they still want more, and they’ll be back for your next story.)

One last important thing to note about Creative and Exploratory Procedurals is that they’re… well… creative! By their very nature, these two types of Procedurals are about a character (or characters) making and accomplishing something. While a heroic journey is about the transformation of the character(s), the heart of a Creative Procedural is about transforming the world around the character. At the end of a Creative Procedural, the world the character lives in is a different place in some way (big or small), while the main character themselves may or may not have really changed that much at all. (This doesn’t mean that the Main Character in a Creative Procedural can’t completely transform, just that they don’t HAVE to transform like they do through a Heroic Journey.)

I think this is why I find them so attractive. They’re positive stories, about characters using their intelligence to accomplish goals and shape the worlds they live in. They’re about building up and making new things like businesses, communities, organizations, or societies. As opposed to heroic journeys, which are all too often about kicking the designated bad guy’s butt in ways which are all too often more destructive than creative.

My journey with DAZ Studio Continues. I spent the week working on images to go along with my currently running Flash Fiction series- The Fox Cycle over on my KFAT page. The stories themselves cover a large span of time, but focus on the former King’s Musketeer Gerard la Russo and his Indian adopted daughter Renard. Using my meagre talent with DAZ Studio, I decided to render a few images to go along with some of the stories.

Gerard la Russo at Callais in 1698.

Renard la Russo and Claudette Dupris 1710

Ren and Gerard 1717

And a bonus picture, since I had some people suggest Tysen didn’t look brooding enough in the one posted last week.

Last week over on the KFAT site, my first weekly webfiction story The Inuyama Rebellion posted its final chapter. It’s been a fun run, and I have to say I’ve enjoyed the experiment of writing a weekly piece of fiction in addition to my other writing projects. Of course, I also got a huge kick out of it, since my friend Brushmen was doing great fan art to go with each weekly chapter. (If you haven’t checked them out, then definitely do so.)

Having enjoyed the process, I’ve decided to continue my little experiment, but to get even more…experimental.

For the next nine Mondays (the first one went up already) I will be posting a single flash fiction (1000 words or less) story each week on the KFAT site. These are a little series I call “The Fox Cycle”, and are me doing a little challenge with myself. Each story will be different, and self-contained, but each story will also connect up with all the others to tell a larger story. All of them are historical fiction, take place around the year 1700, and are what you could call an exercise in both character and world building.

What characters and world? Ah, Mes Amis! That would be telling!

I’ve rarely written flash fiction before, so this will be a real challenge in keep my writing tight and using different styles and techniques to bring across a story in the best possible ways. There’s also an additional level to the experiment, but I’ll explain that once the whole story cycle is finished.

I was talking with a friend this afternoon who is something of an industry watcher in the publishing industry, and we were discussing e-book length. Now I’ve thought about the length of e-books for a while, so it was a familiar discussion, but he brought some interesting ideas to the table.

His take on things is that thinking of e-books in terms of the conventional publishing market is wrong, because they simply aren’t paper books and don’t follow the same psychological rules as books. Size is a factor in buying books, and people these days like to feel they are getting their money’s worth as books have become more expensive, so longer books are the norm in many parts of the publishing industry. (Not all, which I’ll come to in a moment.) Therefore, the ideas of long a book should be are based on concepts of thickness and value.

But these concepts don’t apply to e-books, as e-books have no physical form for the reader to judge, and things like word count (and to a degree even page count) are abstract enough to be meaningless to most buyers. This means that in theory an e-book just needs to be long enough to tell the story, and length is irrelevant, right?

Not so fast.

His other thought was that while the physical rules don’t apply anymore, other rules do. He felt that people simply aren’t used to reading long works in electronic format, and that this desire to spend less time staring at a screen (don’t we spend enough time staring at screens in our day already?) would mean that people would tend to read shorter works as opposed to longer ones. In his opinion, he felt that e-books would be better suited to be shorter than print books are on average, and that this is what people would gravitate towards. People would want shorter books they can consume during commutes or on lunch-breaks and the in-between moments of their day.

So, I asked him- Taking all this into account, how long should an e-book novel be?

His answer- 50,000 words, or shorter.

What’s interesting is that this isn’t the first time I’ve seen this number bandied about, not only is this the target number for NaNoWriMo, but it turns up a lot of other places as well. This is also the length of choice for most Young Adult novels, and (he pointed out) has been the target length of Harlequin Romance Novels for several decades. (When I think about it, this is also the rough length for most Louis L’Amour westerns, and was also the target for Sci-Fi and Fantasy novels back in the 60’s and 70’s.)

He suggested that for longer works, it would be better to write at this length and then serialize the story over several of these shorter books.

Is he right? I’m still deciding, but he does have some good points, and at least for a forthcoming YA project I will definitely use this as a target length.

With the advent of the internet, though, we’re back in a perfect environment for serial fiction. It’s easier than ever to publish stories – whether you’re publishing free, or selling subscriptions, or using a tip jar or other method – and it’s easier than ever for people to find and read all sorts of new fiction. Beyond that, serials fit perfectly with today’s hectic schedule. We’re always on the run, trying to get ten thousand things done in a day, and few of us have the time to sit and really immerse ourselves in a 600-page novel. Reading a quick chapter of a serial novel, though? No problem! You can do that on your way to work, or in line at the bank, or on your lunch break. And with technology offering tons of different ways to get access to that chapter – emailed weekly, delivered straight to your phone through an app, available through a website subscription at your convenience – it’s simple, easy, and convenient to read a serial. You don’t even have to wait for that magazine in the mail.

In another part of the forest, a group of Kurokawa samurai in the command of the guard captain of the summer residence came upon their lord. He was sitting on a rock at the side of the road, and when he made no motion to even indicate he knew they were there, the guard captain dismounted and quickly marched over to kneel before him.

“My lord. Thank the heavens you’re safe!”

“No thanks to you, Captain.” The daimyo declared in a cold angry voice, not even looking at the men. “You will atone for your mistake by the morning, I trust?”

Link

Swallow and Dragon – A Chinese Swordplay Novel. is a new ongoing translation of a Taiwanese WuXia novel from 1959. A little fantastic for my tastes (I like my WuXia heroes slightly more grounded) but looks pretty interesting overall!

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About Me

Rob is a teacher, writer, podcaster, and blogger based in London, Ontario, Canada. He is a teacher at Fanshawe College, one of the hosts of the Department of Nerdly Affairs podcast, and the founder/producer of the Kung Fu Action Theatre audio drama group. He is married to his beautiful wife Connie, and owned by his dogs Winston and Penny.

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